A native of Pittsburgh, Pennsylvania, Sue Fuller received a BA from the Carnegie Institute of Technology in 1936 and an MA from Columbia University Teacher’s College in 1939. She also studied with Hans Hoffman in Massachusetts in 1934, with Josef Albers at privately arranged Bauhaus classes and with Stanley Hayter at Atelier 17, at the New School in 1943 and 1944.
While working at Atelier 17, Fuller became a master printer. She also developed intaglio techniques of her own and studied glass blowing in 1951, calligraphy in 1953 and lace making in 1962.
Fuller taught at the Museum of Modern Art’s Children’s Classes, the University of Minnesota, Columbia University Teacher’s College and Pratt Institute. She wrote on the color prints of Mary Cassatt for the Magazine of Art in 1950 and the article “Twentieth Century Cat’s Cradle”, about string and knot patterns, for Craft Horizons, in April of 1954. Further, she was extremely knowledgeable about the work of constructivists, Naum Gabo and Antoine Pevsner.
The recipient of a Tiffany Fellowship in 1948, a Guggenheim Fellowship in 1949, a National Institute of Arts and Letters Grant in 1950, and the Carnegie Mellon University Alumni Award of Merit in 1974, Fuller was awarded the Women’s Caucus for Art Honor in 1986.
Among her numerous one-woman shows are those at the Bertha Schaefer Gallery, NY, from 1949 to 1969; the Smithsonian Institute in 1947; the Corcoran Gallery of Art in Washington D.C. in 1951; the Nishi Machi School in Tokyo in 1954 and the Marion Koogler McNay Art Institute in San Antonio, Texas in 1956. These shows were followed by an extensive retrospective in 1966 and 1967, and the commission of a hanging string sculpture in 1984 at the Norfolk Museum of Arts and Science in Virginia.
Fuller has participated in shows around the world, including “Hayter and Studio” in 1944, “New Directions in Gravure”, (a circulating exhibition) in 1944, “Abstract Art in America” in 1951, “The Responsive Eye” in 1965 at the Museum of Modern Art and “American Sculpture” at the Guggenheim Museum in 1978. More recently, “A Spectrum of Innovation: Color in American Printmaking, 1890-1960” was shown at the Amon Carter Museum in Fort Worth, Texas in 1990; the Nelson-Atkins Museum of Art in Kansas City in 1990; the Worcester Art Museum in 1991; Atelier 17 and the New York Avant- Garde from 1940 to 1955 and at the Pollack-Krasner House in East Hampton, NY in 1993. Fuller has also had exhibitions in France, Spain, Brazil, England and Russia.